Sergei Prokofiev: A Biography 573 pp. Viking Press, 1987; published in UK by Robert Hale (1987); in paper by Paragon House (1988); Spanish-language edition by Javier Vergara Editor (1988) Reissued by Northeastern University Press with a new foreword and afterword, in paperback, 2002, 584 pp.
The Last Impresario: The Life, Times and Legacy of Sol Hurok 521 pp. Viking Press, 1994; Penguin paperback, 1995.
Selected Letters of Sergei Prokofiev Translated, edited and with an introduction by Harlow Robinson 348 pp. Northeastern University Press; 1998
Chapters in Collections:
Articles on Sergei Prokofiev, Alexander Borodin, Betrothal in a Monastery, Prince Igor and Kat’a Kabanova for International Dictionary of Opera (St.James Press, 1993)
“‘Molchanie–eto smert’ or ‘Keeping Russia Clean’: Recent Developments in the Gay and Lesbian Movement in Russia, For SK: In Celebration of the Life and Career of Simon Karlinsky, Modern Russian Literature and Culture, Studies and Texts Vol.33, Berkeley Slavic Specialties, 1994, 255-262.
“Composing for Victory: Classical Music in the USSR During World War II,” Culture and Entertainment in Wartime Russia, edited by Richard Stites. Indiana University Press, 1995; 62-76.
“Sergei Prokofiev’s Romeo and Juliet and the Russian Ballet Tradition,” Crossed Stars: Artistic Sources and Social Conflict in the Ballet “Romeo and Juliet”, Revised and edited proceedings from a Conference sponsored by the Dance Critics Association, San Francisco Performing Arts Library & Museum, 1994, 34-38.
“Soviet Culture Under Gorbachev: Another ‘Thaw’?,” in The Gorbachev Generation: Issues in Soviet Domestic Policy edited by Jane Shapiro Zacek. Paragon House, 1989. 139-55.
“Music,” in The Cambridge Companion to Modern Russian Culture, ed.Nicholas Rzhevsky, Cambridge U.Press , 1998, 236-63.
“Shostakovich Symposium: Maksim Shostakovich, Yevgeny Yevtushenko, Solomon Volkov, Kenneth Kiesler,” moderated, translated and edited by Harlow Robinson in Shostakovich Reconsidered , Allan B.Ho and Dmitry Feofanov, eds. Toccata Press, 1998, 373-399
41 reviews of operas on video for Metropolitan Opera Guide to Opera on Video, Paul Gruber, ed., Norton, 1997.
Mussorgsky: Complete Songs for Voice and Piano, G.Schirmer, Inc., 1995 Paraphrase translations, 371-389
Tchaikovsky: Complete Songs for the Voice and Piano, paraphrase translations (unpublished) “Vasilisa the Fair,” a play in two acts and eight scenes after Russian folk tales, by Sofia Prokofieva and Irina Tokmakova. Translated by Sabina Modzhalevskaya and Harlow Robinson; edited by Harlow Robinson. For New York State Theatre Institute, Albany; produced May 1991; published in paperback by Samuel French, 2003 (52 pp.)
Mozart and Salieri by Nikolai Rimsky-Korsakov. Introduction on the opera; English translation of the opera (singing version) with Thaddeus Motyka; translation of the introduction and notes to the Soviet edition. Belwin-Mills, Inc., 1984. (produced in New York by Chamber Opera Theatre of New York, 1981)
The Tale of the Invisible City of Kitezh and the Maiden Fevronia by Nikolai Rimsky-Korsakov. English translation of the opera (singing version) and translation of the introduction and notes to Soviet edition. Belwin-Mills, Inc., 1984. Reprinted by Brooklyn Academy of Music in 1994.
“Flirting With Decadence: Sergei Prokofiev and Ognennyi angel.” Opera Quarterly, Winter 1991/92, Vol.8, No.4 1-7.
“‘If You’re Afraid of Wolves, Don’t Go Into the Forest’: On the History of Borodin’s Prince Igor.” Opera Quarterly, Winter 1990/91, Vol.7, No.4. 1-12.
“Facing the Music: Perestroika and the High Arts.” Soviet Union/Union Sovietique, 15, Nos.2-3 (1988),151-165.
“The Case of the Three Russians: Stravinsky, Prokofiev, and Shostakovich.” Opera Quarterly. (Vol. 6, No.3, Spring 1989). 59-75.
“Love for Three Operas: The Collaboration of Vsevolod Meyerhold and Sergei Prokofiev.” Russian Review. (Vol.45, No.3, July 1986). 239-56. Reprinted in Studien zur Musik des XX. Jahrhunderts in Ost- und Ostmitteleuropa, Detlef Gojowy, ed. Berlin Verlag, Arno Spitz, 1990, 79-102.
“Russian Culture After Brezhnev: Music.” Soviet Union/Union Sovietique. (Vol.12, Part 2, 1985). 137-44.
“‘The Most Contemporary Art’: Sergei Prokofiev and Soviet Film.” Studies in Comparative Communism. (Vol. XVII, 3 & 4, Fall/Winter 1984-85). 203-218.
“Dostoevsky and Opera: Prokofiev’s The Gambler.” Musical Quarterly. (Vol. LXX, No.1, Winter 1984). 96-106.
“An Incredible Country: Prokofiev and America,” Three Oranges (Inaugural Issue), No.One, January 2001, Serge Prokofiev Association, London, 4-5. Reprinted in New York Concert Review, Summer 2003, 4-5.
“Prokofiev and St.Petersburg,” Three Oranges, No.8, Nov.2004, 11-14.
“Back to Borodin: Prince Igor and the Politics of Soviet Music,” Muzyka: Russian Music Past and Present, Vol.1, No.1 (Spring-Summer 2005), 15-22
“Talking About Opera: Mussorgsky’s Boris Godunov” (CD), Metropolitan Opera Guild, 2003 (75 minutes with musical examples)
“Talking About Opera: Benjamin Britten’s A Midsummer Night’s Dream” (cassette tape), Metropolitan Opera Guild, 1996
“Talking About Opera: Shostakovich’s Lady Macbeth of Mtsensk” (cassette tape) Metropolitan Opera Guild, 1994
Conducted interviews and on-site translations and acted as consultant for An Anagram, 40-minute video essay by Dan Barnet and Gary Henoch, bePictures 2002 (filmed on location in Russia autumn 1991)
Consultant and interview subject for documentary film (60 minutes) Verschlossene Heimat about Sergei Prokofiev, directed by Oliver Becker, produced by WDR Cologne and Loft Munich, with arte and ORF, aired 1999
Writer, editor and on-air host for “Soviet Television Tonight,” SUNY-New York Network PBS/Soviet TV Exchange Project, 1988-89; six one-hour programs of Soviet documentaries (translated into English with commentary) aired nationwide on PBS July 1989
Essays on Russian Music and Culture The Russians in Hollywood: A Cultural History estimated completiondate: 2006